TOPIC: AS10 mxf export

Does someone have ever exported an AS10 compatible export for TV..
We've done yesterday an XDCAM HD 422 50Mbit/s 25i with 4 channel audio mxf export, and the analyse of the file by the tv comeback with errors.
Some experiences ?

Encoding your ProRes export with Adobe Media Encoder shoud be ok. Has to be double checked.
In Compressor, there is no AS10 mxf profile. Unfortunatly.

I've ever read this document from broadcast news and I was expecting that it's a problem of AS10 profile.
In a first time we're going to take Media Encoder or Premiere to do it but dislike to play with the dark side of the force.
Thank you Hub ...

I suspect most people on the forum using MXF export settings use OP1A. Is AS10 common to France only?
Looking at your first post on the subject, I see you mention a 4 channel audio export.
I thought MXF had to be an 8 channel audio export, even if 4 channels are empty?
Just a thought, but are you losing valuable metadata by only exporting 4 channels and this is causing problems when the TV company import the material?

If I was handed that report, I'd immediately call them and ask for the specific details, what needs is not "in conformance" (which is a super vague word). Even having read the white papers on AS10, I'm not exactly sure, but I think that could be metadata formatting, specific to AS10. This is new-is MXF sub-format, and yeah, since CNN, Harmony and Sony use this now, Apple needs to add it to our preset selections. Or give us more detailed control over MXF parameters (not to mention support for closed captioning in MXF formats).

I had call them, but even the broadcaster's contact couldn't tell me exactly why that was not in conformance. Only their software know it !
For sure it's not a signal problem but certainly the order of some metadata.
In France, most of the main broadcasters use this specific AS10 and I'm going to send some requirements to Apple to have as soon as possible an AS10 preset in compressor.
For information, our file compressed with Premiere has been validated.

Yes, sadly, as much as I use and love it, Compressor is woefully out of date and far behind the demand of today's film and broadcast industries. The same team handles Compressor and Motion, and I wonder, if they're an independent team, not even in the same physical location as the FCPX team, what do they do all day?